This webzine is online since August 2010 and is completely dedicated to Electronic Music (EM) identified as the Berlin School style and its derived. You will find interviews but mostly reviews of ambient, sequenced and symphonic EM with a glimpse on other related genres. You have questions or want your music to be reviewed? Please read the 123 FAQ section attentively. Bear in mind the main purpose of this Blog. So welcome in and I hope it will guide you into the wonderful world of EM.

According to Mayas and Nostradamus prophecies, 2012 should be a year apocalyptic events which would signified he end of the world. Other groups, as much alarmist as philosophic, predict that 2012 would be a year of great climatic upheavals and transitions which will drag the world and its inhabitants towards a major awareness already undertaken in 2011. Immensely poetic and introspective, Ante Oculos rests in a very beautiful artwork to pastel colors where a fairy draws circles of life on an earth which seems virgin. Did Ron Bootslose hope? However his last opus is weaved in the veins of a universe which looks for itself and which is afraid. Always so musical,Ron Bootslays a very lyrical concept album where EM goes alongside to a progressive approach with a zest of melancholy and apprehension. Ante Oculos is a superb album with intense, moving and powerful passages where the reflection brushes the passion and which moves us closer to our values while questioning us about the future prospects of our planet.Be on a boat and split the water with the purity of the winds. That’s the impression which rocks us when that limpid synth waves are crisscrossing beneath the lost notes of acoustic guitar. "Ad Temporum Sidelines." falls in the ear as a superb electroacoustic ballad where soft riffs of an acoustic six-strings scribble a sylvan melody under choirs of mist and arpeggios streaming with transparency, a little as a brook of diamonds singing in the furrows of an enchanted forest. And the soft rhythm amplifies its oniric sweetness with synth pads to tones of melodic organ, singing of a wounded voice the pains of an earth broken in the eclectic breaths of a synth filled by iridescent radiances. It’s a great and very touching track. More hard-hitting with a very good merger of echoing, metallic, banging and tones of cosmic gas percussions, "Xenophobes and Other Weirdos!!" flies on nice orchestral arrangements of which violin envelopes cross with harmony the keys of a keyboard adrift. Discreet the synth remains not less very effective with its morphic and spectral layers there which float and tight a movement as much slow as heavy. Particles of tinkled dusts ring and float among the dark choruses which blow on the electronic arcs of "Can we Predict? Part I". The ambience is heavy and lethal with powerful symphonic breaths of a synth à la Vangelis which hoots in a sound fauna filled of analog reminiscences. Dark and apocalyptic, "Can we Predict? Part I" waltzes in the void with heavy layers of synth to futuristic fragrances of which the multiple ions shine with a bluish iridescence and hold onto the dying breaths à laBlade Runner. It’s incredibly rich and so intense."Can we Predict? Part II" moves on with subtle riffs which hiccup under these heavy metallic breaths. The cymbals lug their tsitt-tsitt, awakening fine pulsations and shaking percussions which fall with an unconcern debonair. On a rhythm with funky- jazz tendencies, "Can we Predict? Part II " frees from its heavy hold to sway hips of a flexible rhythm fed by fine crystalline arpeggios which skip in a universe stuffed with hoops to resonances words. Some good twisted solos glide over this delicate rhythm which is metamorphosing at the approach of percussions to tones of metal and glass. Percussions which put back "Can we Predict? Part II" on its apocalyptic road with celestial choirs which sing under industrial reverberations and itssynth layers, herald angel of a blackness which will recover the earth of an immense veil of regret. After this eschatological ode, "The Sorrow Remains of Things that Past." falls in the ear with the virgin freshness of the electronic ballads. Fine notes to tones of a medieval harp roll in loops, fixing the road forFrank Dorittke (F.D.Project) chiselled solos which sing in solitary, waiting for the arrival of the felted resonances percussions. Heavy and morphic the tempo is waltzing with more mordant when steadier percussions fall and pound this slow rhythm fed by harp riffs that only the imagination can indeed hear as well as arpeggios of which the tones of glasses cross hatched fluty breaths before being mislaid in the plaintive solos of F.D.Catchy and great! Like the reflections of the sun after an ash night, the first arpeggios of "Sole Novum" dance on beautiful orchestrations. The rhythm is alive, filled with optimist. Synth solos illuminate with cheerfulness and keyboard keys inhale the happiness, as a dance of innocent lovers without souvenirs, nor remorse and without malice at all. Like our ancestors!Over the years Ron Bootsaccustomed us to solid works and I have to admit that Ante Oculos is one step above. The Dutch synthesist weaves a very intense cinematographic musical universe where several styles become entangled in superb harmonies as much meditative as apocalyptic. I love those powerful symphonic momentums à laBlade Runner which feed "Can we Predict?" as well as this violin which cries among this torrents of percussions on the title-track. And what is to say about "Ad Temporum Sidelines." and "The Sorrow Remains of Things that Past."?Ante Oculos has no weakness and no dead spots. It’s a wonderful opus where the whim goes alongside reality and where the musicality has to envy nothing the originality.Sylvain Lupari
(2012)Cet article est disponible en Français sur le site de
Guts of Darkness, dont je suis chroniqueur sous le nom de Phaedream:http://www.gutsofdarkness.com/god/objet.php?objet=14860

Along several of my reviews, I mention Vangelis and his Blade Runner as a work of reference. But yet, there was no review of it on Synth & Sequences. Now the situation is corrected. So here is a translated version of a review that I wrote back in 2008 for the webzine Guts of Darkness. First of all, a little of history! It’s in 1982 that RidleyScott's famous movie hit the theatres. For reasons always dark to this day, and in spite of the doggedness, the original soundboard was limited only to the movie version. The very first soundtrack to be bounced out of this picture was an orchestral adaptation strongly sanitized by The New American Orchestra. It was an album of barely 34 minutes which included only the melodious side of Vangelis work, while excluding all the dialogues and sound effects which enriched both the movie and its soundtrack. Despite the absence of a real soundtrack, this music of Vangelis was nominated for a Golden Globe Award in 1983, pushing the bootleggers to multiply the pirate editions with various sound qualities that the fans tore away at a high price. Twelve years later the real soundtrack finally saw the light of day to hit our eardrums under the label of Warner.The intro of "Main Titles" opens all the suppositions to the late marketing of this full of imagery version of Vangelis. The jingles of machines overhang a honeyed synth which takes a long time before shining. We hear the interrogation of Decker with a Replicant on a background of shadowed strata which hesitate between lifelessness and melody. And the more "Main Titles" progresses and the more we feel the synergy and the musical power of this galactic world to the ethnic multiplicities. Vangelis casts on Scott's movie a simply stunning sound atmosphere. The enigmatic ambiance and the interrogation continue on "Blush Response" which takes an Asian tendency on galactic background. Not really rhythmic, nor motionless, this static whirlwind is a real sound ant-hill with its metallic percussions and its dark waves which escape in loops. In this highly futuristic world, Vangelis weaves small melodious pearls as "Wait for Me" and its jazzy-lounge style or still the melancholic ode of "Rachel's Song" which plunges us into the territories of Opera Sauvage. After the very sensual and suggestive "Love Theme", "One More Kiss, Dear" profiles a style of the 30’s night clubs which is taking us literally out of the futuristic world of Blade Runner. The strength of this soundtrack is the easiness that has Vangelis to transfers his visions and feelings through various musical styles while respecting the futuristic reach of the movie. "Blade Runner Blues" is the perfect example. It’s a galactic blues where the melancholy and the suffering of a disrupted soul are hearing by an idle synth which filters lamentations worthy of the most inspired of the saxophonists. The soft piano and the gloomy mood of "Memories of Green", a title to tear up the eyelids, continues this dark atmospherical breakthrough which encircles the main lines of this work where man is at the search of his origins. That’s one of the beautiful moments in the movie as well as in this soundtrack. As enigmatic as eclectic "Tales of the Future" and "Damask Rose" plunge us into the robotics ethnic territories, just before the explosive "Blade Runner (End Title)" which hammers our eardrums with its big symphonic drums and its melodious synth adorned by numerous sound effects. "Tears in the Rain" ends with a wonderful heart-rending apocalyptic poem which seduces so much by its words than its soft poignant music which floats in the air and does brandish the hair as much as the spine. To me, Blade Runner is to the world of musical sci-fi what Sergeant Pepper is for rock. It’s an outstanding musical experience where mixed emotions travel on various electronic musical styles. It’s a rich album swarming with ambiances and feelings which succeed to captivate as well as our imaginary of a future to be soon our's. It’s a real masterpiece which will survive Vangelis' works and life.

I have already written it; the French EM conceals small hidden jewels and Olivier Briand is one of them. Those who enjoyed his performance during the Nantes concert in August 2010, and which is at the origin of the SpaceFish Live Inexxa's DVD, will be delighted to find again the complex and progressive electronic structures of the synthesist from Nantes. Pulled of recordings not used during his concert at Carquefou in 1996, Transparences is a mixture of the kinds and influences which gnaw Olivier Briand. We can hear there some good reminiscences of Klaus Schulze (especially), Jean Michel Jarre(at the level of the rhythms) and Tangerine Dream (on a melodic level). In brief, a beautiful meshing of styles which become entangled in a sometimes claustrophobic but often melodic vision. A beautiful album of forgotten but unforgettable rests!The title track begins with notes of an electro-acoustic guitar of which the bluesy soul roams under stars. Jean Jerez pinches his strings with pain and makes them resound among sinuous resounding lines which bite the fragility of their emotions while that quietly "Transparences" deviates towards a more nervous rhythm. A rhythm at the crossing of a cosmic free blues where chords of an undisciplined guitar fight arpeggios of a nervous synth that percussions support with a good steady tempo. The intro of "Prophetic Steps" slides into the fiery rhythms à la Jarre where resonant metallic percussions and arpeggios of an iridescent coolness collide on a beautiful rhythmic stuffed by crystalline serpentines, robotic vocalizes and sequential momentums as dynamic as melodious. It’s very good. We would believe to hear a merger of Kraftwerk and Jean Michel Jarre. Although its intro is quite honeyed with its fluty breaths which float above an angelic mist and fly among jets of industrial gases, "Gladiators" falls into a furious electronic rock where Pascal Férré's electric guitar bites out and spits out incisive solos which throw their venom on spasmodic and stormy sequences. An infernal storm fills our ears with a din of steel before that the calm smoothes all the musical surface with a superb melodious approach packed of Tangerine Dream musical souvenirs, area of Legend and Underwater Sunlight. It’s another great track which allies easily complexity and melody. "In the Temple of Graal" is simply hallucinating! Philharmonic crisscrossed stratas open the intro, such as a Pharaonic ballet. Somber vocals are grafted to this enchanting dance of sands which is sucked up by a multitude of aspirators holes which siphon the waltzing envelopes under great drum rolls. Such as the claustrophobic and encephalographic world of Klaus Schulze, the voices multiply and become entangled with the synth violin stratas in a strange cerebral ballet which has immoderation only the limits of a fanciful imagination. It’s an incredible track which spits all its fright and depth at high volume. "KS Revival" is a wonderful immersion into the digital years of Klaus Schulze and of his unchained glockenspiels area. The solos are juicy. They wrap with a repressed intensity the jerky movements of riffs and pads of a synth curt and incisive, while the percussions roll in loops under a structure of which the evolution brings us near a cosmos overturned by an undisciplined finale. A finale which repents in the short tranquility of a mislaid astral movement. "Fonik 707" is a short electronic ballad where twinkling arpeggios skip on a bed of slithery spectral strata. The line of bass is superbly musical quite as the finale which is carried away by an abrupt and stormy movement, witness of the conceptual and melodious divergences which liven up the creativity of Olivier Briand. Very dark and ambiguous, "Mortal Nightmare" caresses effectively the doors of an insomniac night where the nightmare navigates on the black waves of synth which are overlapping among iridescent and tinkled breaths as well as whispers of paranoia. "Cold Emotions" offers a hard and cold rhythmic with oscillations which caw, borrowing (taking) the colourful universes of Schulze and the Caribbean rhythms of Jarre. The synthesist of Nantes weaves a musical universe rich in tones by grafting unreal vocalizes, nervous riffs and echoing spins on a rhythm in permutation and its pulsations as heavy as hypnotic. Rainy drops and thunderclaps scatter under the minimalist breaths of a flute to the colors of a rainbow singing under the furtive keys of a romantic keyboard. The music of "Après L'Orage" bears poetically its musical prose with a delicate ballerina approach where arpeggios sparkle and float among an iridescent mist, envelopes of cellos from fantasies and this suave flute of a centaur of the cosmic dunes.To date, what I heard from Olivier Briand is very powerful. His musical style full of abrupt movements and random rhythms where his melodies are caressing corridors soaked of a mesmerizing paranoia confers him a unique and very particular place and this as much as in the universe of EM ( I’m situating him on the same place as Remy) as in firmament of French school EM. With its steady and tortuous rhythms, its abstruse ambiances and its melodies as metallic as poetic, Tranpsarences navigates on a complex but rather accessible musical odyssey. It’s a very good album which is going to please to the fans of Klaus Schulze, Jean Michel Jarre(this is rather curious to hear these two names and styles to hobnob with) Tangerine Dream and Remy. It’s an album which is amply worth the money spent and Olivier Briand is definitely a name to discover in the universe of EM.Sylvain Lupari
(2012)Cet article est disponible en Français sur le site de
Guts of Darkness, dont je suis chroniqueur sous le nom de Phaedream:http://www.gutsofdarkness.com/god/objet.php?objet=14847

PLEASURE SOUND MUSIC: CDPS06To hear the cold moans and roars out and to feel its bite, its erosion and its explosions. This is all the atmospheric setting which surrounds this first album of Triple S. Formed by Erik Seifert, Max Schiefele and Josef Steinbuechel in 2011; Triple S concocted a concept album which describes the experiments and the wild lives on both poles and its extremes coldnesses with a music which is not at all the equal of the subject of their thesis. Poles is a beautiful album where electronic rock caresses the morphic sweetnesses of atmospheric approaches with a Maxxess in great shape who frees wildly his strings to sculptures riffs and solos which invade structures as oniric as quietly stormy.A Siberian wind engraves frosty dunes, propelling particles of ices among solitary arpeggios which have the fragility of glass. Floating and melancholic, the intro of "Ninety Degrees South" sweeps the horizon with beautiful layers of synth which are resting on the ice floes of solitude, expiring hatched pantings which get lost in the crystal clear echo of the arpeggios of ice. Maxxess' guitar tears up this wintry tranquility. His scattered solos and echoing riffs light up fine percussions and awaken keys from lunar keyboards. Slowly the rhythm of "Ninety Degrees South" is rising with a delicate morphic approach, procrastinating between a floating tempo and its more percussive momentums just like the 7 other titles which dance and waltz on Poles. It’s a soft but firm rhythm which oscillates between a strong progressive rock and a cosmic rock where distorted riffs, lascivious solos and strong percussions with tones of metallic gases frame an eclectic sound fauna. After an intro where the crackling of ices converges towards twinkling tones, "Erebus Ice Tongue Part I" stumbles over a delicious electronic rock approach à la Code Indigo. A merger of acoustic and electric guitars floods our ears with a mixture of notes, riffs and solos as heavy as ethereal which interlace on a nest of twinkling chords. Sometimes heavy, sometimes fluid and slightly jerky, the rhythm remains catchy. Harpooned by slamming percussions à la Jarre and flavoured of delicious hesitating and melodious chords à la Tangerine Dream, area Underwater Sunlight, it continues its progression towards "Erebus Ice Tongue Part II" with soft angelic vocals, before looping the loop with a finale to ambiances as much richer and intense as the introduction. The intro of "Shackleton Ice Shelf" jumps with the noise of the icebergs which crash violently on ice floes, offering a show of lunar desolation returned with aptly by the laments of a forsaken guitar. Max Schiefele's solos are bursting out of emotivity and float with the violence of the winds, accompany by morphic synth layers. It’s of a very poetic icy serenity.Fine percussions draw the delicate chipped rhythm of "Mount Ellsworth" which is surrounded by a very electronic aura. Floating into Software and Pyramid Peak's spheres, the rhythm is finely jerky and decorated by electronic streaks which overhang the knocks of felted percussions before folding the loin over the harmonious solos of Maxxess. Afterward the rhythmic approach becomes more complex, lining up melodic phases which tire oneself out on others more jerky where synths and choirs compete with a more accommodating guitar. Built a little on the same principle, "Pole of Inaccessibility" offers a beautiful intro slightly morphic where notes of acoustic guitar glide over some weak pulsations. Streaks as much ghostly than iridescents shake the atmosphere while heaviness settles down, paving the way to a progressive rhythm which becomes predominant around the 6th minute mark. Heavy and slow, the rhythm is lascivious and skimmed over by beautiful strata of a spectral synth which copulate with solos of a morphic guitar. A guitar which becomes more aggressive by freeing riffs which roll in loops, accelerating a pace of which the rhythm is skilfully surrounded by layers and choirs of a hypnotic synth. More atmospheric and more claustrophobic, "Aurora Borealis" is unfolding as being in a state of weightlessness. The guitar floats like the waltzing stratas of Erik Wollo, forging loops which get astray in riffs and heterogeneous tones. Howler winds open the angelic heavens of "Arctic Finale" which shines with its superb celestial intro. Torn between its powerful impromptu rhythms and its ethereal ambiances, "Arctic Finale" is divided by its heavy percussions which fall and its twinkling arpeggios which flutter on a beautiful circular movement. But the heavy and slow rhythm takes the lead. For a few seconds it rages of its symphonic drums to then find shelter in the calm of the morphic strata of an oniric guitar and the crystalline arpeggios of a solitary keyboard to still bend under the knocks of the big drums and embrace a philharmonic phase just before ending in the winds of the cold ice. This is a wonderful track!A world of ice beneath a guitar of fire, Poles is a beautiful EM album which rides serenely a more rock approach. The presence of Maxxess and his guitars bury his two friends that I find rather discreet, but the result isn’t less very good; it stays a pretty good album. Except that I would have like that the synths and eclectic ambiances of Erik Seifert emerge as much as the guitars and riffs of Maxxess. I have the feeling to hear a Maxxess album written by Erik Seifert, because we cannot deny the poetic touch here of the German synthesist that we hear and feel all along Poles, an album which will please both fans of Mike Oldfield (The Song of Distant Earth), Code Indigo, Erik Wollo and Pyramid Peak. A good bunch of styles, we have to admit...Sylvain Lupari
(2012)Cet article est disponible en Français sur le site de
Guts of Darkness, dont je suis chroniqueur sous le nom de Phaedream:http://www.gutsofdarkness.com/god/objet.php?objet=14846*You can also watch a video of Pole of Inaccessibility (Radio Edit) by following this link: http://www.youtube.com/watch?v=mTflCX2Y64Y

We listen to this new Erik Seifert's opus as a strange spatial journey. Mixing the soft melodious approaches of Vangelis to Jarre rhythms, while visiting the heterogeneous sound atmospheres of interstellar flights, CORE evolves as a long track segmented in 7 parts in a sonic flora fill by sci-fi scents. A bit as if we were aboard a space shuttle which floats slowly among the astral cloudiness, planets and stars. It’s a beautiful album builds around electronic rhythms which progress melodiously within Jean Michel Jarre territories. An electric current sparkles on the opening of "LHC (Large Hedron Collider)" freeing a swarm of sound ions which floats in a cosmic mist, a little as a the inside of a spaceship in awakening mode. Everything is under the hold of gravity; from melancholic chords of a mislaid piano to metallic strata of a sleepy synth, we are in state of weightlessness or in an intersidereal oblivion. A soft twinkling sequence comes out of this astral void. It spins with the grace of a ballerina in a serene ambiance, where the piano’s forlorn keys accompany it shyly before that a latent tempo is pointing out. Around the 7th minute it bursts out on percussions slightly banging and a good wavy-like bass line which spits hybrid heaviness pulsations in a musical pattern where a tempered rhythm crosses an ambient but delicately musical phase on a synth fill with Arabic and waltzing layers. It’s a beautiful track bursting out of a spatial melancholy and which is melting softly to the noises of a space station gear. Following to the introductory protocol of "LHC (Large Hedron Collider)", "ALICE (A Large Ion Collider Experiment)" releases itself from the mechanical influence with a suave tempo which undulates delicately on a subtly stroboscopic structure. Hyper delicious and extremely melodious, the synth frees beautiful languishing strata to melodies of people from the sands. In the middle point, the rhythm becomes then more mordant and jerky with delicately anvil approach pursuing its melodious destiny on more hammered percussions which inject a heavier tempo. The journey continues with "ISOLDE(Isotope On-Line Detector)" and its slow atmospheric evolution which depicts skillfully the movements and the everyday life of cosmonauts moved away from their homeland. It’s a very cosmic music piece where the synth displays its analog tones, among solos and synth melodies which shape a slow temporal waltz. "AD (Antiproton Decelerator)" continues the exploitation of "ISOLDE" galactic ambiances except that it’s heavier with its threatening synth streaks which scan the environment such a laser eye among choirs condemned to perpetual space. Around the 4th minute, the synth harmonizes solos which get lost under the notes of a pulsating bass and hits of well feed percussions, drawing a languishing rhythm in a sound universe rich in heterogeneous strikings. Strikings which encircle an insistent sequence coming out of nowhere and of which synth solos invade the rhythm and coo beneath the eye with the searching resonances. Here is another very well structured track. "SPS (Super Proton Synchrotron)" and "ATLAS (A Toroidal LHC Apparatus)" are 2 tracks in the purest Jarre tradition, Calypso and Chronology areas. These are t tracks with amphibian moods which move on nervous rhythms, great juicy percussions and a hatched rotary sequence which gets lost, on short periods, towards more atmospheric passages. Let says that it rocks and that it tears the walls down. The dragonfly sequence of "Wunderwerk (Trancer Spacey Remix)" is a pure delight for the hearing. Arpeggios to charming jolts are crossing some slamming percussions of which the resonances throw us in the Moon Machine moods from Jean Michel Jarre. It’s another great track, built on a rhythmic structure slightly stroboscopic where the ambient rhythm embraces lazily a synth with fragrances of a solitary sax of which the breath is cut by an automat vocoder, before resuming its rhythmic of origin.Catchy rhythms in a sci-fi ambiance, here is the result of Erik Seifert's 5th opus. It’s an album high in tones and in tight paces; worthy of a dance floor for fans of wriggling dance, where melancholy transcends the rhythmic simplicity. CORE is a must for fans of Jarre and Vangelis, Chronology and Direct areas. It’s the best melodious EM album of 2009.Sylvain Lupari
(2009)Cet article est disponible en Français sur le site de
Guts of Darkness, dont je suis chroniqueur sous le nom de Phaedream:http://www.gutsofdarkness.com/god/objet.php?objet=12845* If you want to know more about the sound world of Erik Seifert, you can visit his website (in German only) here:http://www.pleasuresound.de/musik/index.html

dimanche 22 janvier 2012

"Evangelum Secundum is dark and abstruse with dishevelled and moiré rhythmic structures"

1 Annuntiatio (4:14)2 Bethlehem Anno Primo (8:04)3 Jesus in Templo (11:26)4 Canae Nuptiale (4:24)5 Beatitudines (4:20)6 Seminator (2:21)7 Granum Senapi (2:20)8 Qui Sine Peccato est Primum Lapiderm Mittat (4:11)9 Lazarus Amicus Meus (3:02)10 Qui Bibet hanc Aquam Nunquam Sitiet (11:16)INDEPENDANT RELEASEHere is another strange album to land in the EM cd racks. Except that Evangelum Secundum is more progressive and more experimental than electronic, even if completely made from synthesizers, sequencers and mellotrons. Sbrizzi FaBIO's last opus goes back in 2006 with the superb Comunicare, an album which demonstrated all the talent of composer and sounds sculptor of the Italian synth man. An album more theatrical than musical, more poetic than melodic where every title hides a dimension more claustrophobic than paradisiacal, The Second Evangelic is a somber album which is rather difficult to tame. The rhythms are there tortuous, uncoordinated and roam in any direction, framing unfinished melodies which die the in hermetic breaths of heavy mellotrons, builders of unbridgeable sound bulwarks with intense movements of violins and cellos which bury choirs to thousand intonations."Annuntiatio" begins with lugubrious synth layers which float such as the wings of old organs above the scattered strikings of wandering percussions. Without precise rhythm, the rhythm is in constant tugging against the heavy melodious approach of the monasterial synth layers which restrain as much the percussions as the scattered notes of guitars. This impression of rift between rhythms and harmonies is the cornerstone of Evangelum Secundum's complexity and continues on "Bethlehem Anno Primo" which flows with beautiful fluty winds singing under the knocks of a sequencer bass chords. The rhythm is heavy and a bit threatening. It waves lazily by following the course of sequences and hatched chords which shake the temples of the hearing with curt bangs, scattering to the four winds angelic choirs and bells. Dark winds ring carillons which awaken a soft angelic choir. The intro of "Jesus in Templo" livens up then of a fluid movement where sequences hammer a circular rhythm which espouses the whirling of the carillons. The atmosphere becomes dense and stifling with dark choruses which hum among momentums of fanciful strings which hatch the structure by brief hit of bows. "Jesus in Templo" sinks into a maze of uncoordinated rhythms and ambiances where mellotron and sequence are engaged the fight of the stigmatization under the stars of the carillons before stifling in this strange mixture of cellos and flutes of which the calcified lamentations roam among lost chords. A furtive sequence appears from the foggy limbos of "Canae Nuptiale" to run with the uncertain chords of an oniric synth. A beautiful dance of time follows with sequencer keys which surround the breaths of a dreamy synth, entailing "Canae Nuptiale" towards another disrupted rhythmic."Beatitudines" is a beautiful ambient melody where birdsongs are fitting marvellously to the ethereal movements of mellotron choirs and layers. Only drawback; the finale which is very abrupt. A phenomenon that we observe on too many titles on Evangelum Secundum. With their sequences which skip and crisscross under curt knocks of percussions "Seminator" and "Granum Senapi" are two short titles with rhythmic structures which are quite similar. Heavy and violent rhythms, full of retained which are bound in somber melodious approaches where beautiful synth layers flitter among the heavy strikings of the notes of piano which resound among electronic tones, violins and floating choruses. "Qui Sine Peccato is Primum Lapiderm Mittat" present a nice structure of which the progressive rhythm evolves in secret on a beautiful synthesized crescendo. The drums of slaves' galleys bear the weight of a synth which subdivides its tones, creating a theatrical melody with a zest of drama in it. With its lost breaths and its fake notes of a quixotic harp which ride a sequence with wide wave-like loops, "Lazarus Amicus Meus" is a beautiful electronic melody moulded in the glass and the breath of angels. The rhythm is delicate and the synths set free a soft ethereal aroma with a beautiful envelope of mist. "Qui Bibet hanc Aquam Nunquam Sitiet" embraces a more orchestral tangent with synths fill by symphonic breaths. Piano notes drag among those from guitars, while a strange rustle accompanies this slow processional agony. It is a long complex track eroded by dramatic and orchestral musical elements, uniting the Episcopal universes of Vangelis and the theatrical one of Jean Pierre Thanes where the rhythm gets lost in its reflection, depraving short and sweet melodies abandoned on the surface of remorse.Closer to the Italian progressive movement than the usual electronic structures, Evangelum Secundum is a dark and abstruse album with dishevelled and moiré rhythmic structures. There is a stifling atmosphere in this album full by rhythms and melodies broken and scattered in a claustrophobic production. It results from it in a strange movie or theatre music which has the mesmerizing visceral depth of Goblin and its delicious Suspiria. It’s an album which is very difficult to tame and which can seem frustrating in the first listening because of these rhythms and scattered melodies. But if you have the bold to try something unusual and quite audacious, Evangelum Secundum will be as high as your waits. Just one remark to Sbrizzi; it would be nice to remix Evangelum Secundum cause the way most of tracks end is quite annoying. It’s like listening to MP3 on cheap format...But the rest is quite good!Sylvain Lupari
(2012)Cet article est disponible en Français sur le site de
Guts of Darkness, dont je suis chroniqueur sous le nom de Phaedream:http://www.gutsofdarkness.com/god/objet.php?objet=14836

Future is the 2nd collaboration between the synth man Javi Canovas and the guitarist David Parades. Following the artistic and psychedelic bases established on Unforgiven Machine, released in 2010, the Spanish duet weaves an album where the music and its melodies bends on superb sequential movements which are caught up by envelopes to tones as much iridescent than silvered. Future is the essence of David Parades who breathes life into a strong experimental influence, him who is a fan of free improvisation. Autopsy of an album as stranger as attractive. A fine line of metal tears the silence to introduce the weak hummings of the intergalactic machines. Dipped into the steel of sibylline tones, the intro of "Esperando, esperando" floats in a universe of abstraction where the breaths of synth, sometimes shrill and sometimes pleasant, got lost in the ambiguity of the intersidereal mechanisms. Fine pulsations emerge from industrialized slums. They drum beneath streaks a bit spectral, awakening quietly a rhythm which is duped by metallic rumblings. And in a fine transition, the rhythm of "Esperando, esperando" is switching shape to fits into a more ethereal approach with agile sequences which gallop under a sky fill of twisted sounds before escaping on a harder rhythm. It’s a rhythm in constant progression fed by sequences with undisciplined oscillations which skip and explode in a mixed bag of tones as metallic as opaline, feeding the very experimental approach of Future which is also reflected in the intro of "Debod" with the voice of David Parades which roars through the layers of an electric Ukulele. The result is rather striking. We would believe to hear a Shaman with a timber of voice a bit cybernetic who preaches in a cosmos left by its stars. Delicate synth layers wrap this atonal prayer, bringing a stalk of utopian heat to an oniric blackness. This obligatory phase is a prelude of a 5 minutes length to a superb sequential movement which shyly takes shape before exploding of its chaotic impulsions. Under a sky streaked and scratched by the iridescent and morphic claws of a mixture of synth/guitar to tones as cutting as intimidating, the rhythm of "Debod" hiccups and fights in front of the repeated attacks from the vicious and thunderous stratas. Sequences get subdivided and multiplied, crisscrossing in a fiery rhythmic chassé croisé which goes on up until the dawn of the tranquillity. It’s a relentless fight of more than 10 minutes before the peace calms the ardour with a divided approach. An approach where the majestic of the synth breaths is perturbed by the notes and the metallic rustles of a too omnipresent guitar. "La habitación del niño loco" is a purely experimental title where scattered strummed melodies roam among cracklings and mislaid tones. We would say melodies of a fragmented carousel which roll in loop under the dumbfounded glances of curious onlookers witnesses of a spectacular derailment. The effect is of an imaginary realism, in particular with a quite dire finale. Always trapped in a maze of tones made of lead in fusion, the intro of "Who are You" has difficulty in breathing. Chipped stratas are grazing the sound surface while a sequence emerges and waddles with ardour on a linear tempo. The iconoclastic noises lead room to breaths of guitars and afterward to lost notes which resound on a sequence became more undulating. A sequence which is crossing another one. Faster and more incisive it subdivides a rhythm became more complex which runs at a brisk pace, trying to escape the bites of guitar. "Quarantine" ends this 2nd rather audacious adventure of 23fish with a beautiful and long strummed lament. It’s a beautiful and sober melody which clashes in this musical decoration worth of a factory basement that is Future.Future is an album which addresses mostly to lovers of very avant-gardist music. If there are some nice sequential kick offs, the album is above all a pretext to deepen the experimental music in an electronic structure of a kind of progressive Berlin School. I quite enjoyed it, although my old eardrums grimaced, but I doubt that this album is within the reach of all ears. If the sequences of Javi Canovas are by moments explosive, David Parades' guitars are on the other hand corrosives, giving at times some superb music moments and on other times hard anti-music moments. To listen to at small doses and you will eventually like it …Sylvain Lupari
(2012)Cet article est disponible en Français sur le site de
Guts of Darkness, dont je suis chroniqueur sous le nom de Phaedream:http://www.gutsofdarkness.com/god/objet.php?objet=14835

As its title freely let suggest it, Return is a return to basics for ['ramp]with an album completely made from analog equipments. Only master aboard of his studio and his abyssal wings, Stephen Parsick weaves 2 long titles to similar structures where the abrasive and industrial ambiances blow in the neck of heavy, static and unbridled rhythms. astral disaster and return are 2 long titles of an average length of 37 minutes segmented in several parts which are entwining in 2 powerful musical patterns of smells of suffers and colors of steel. Two titles of a lead heaviness which let themselves caressed by ambiances as poetic as devilish and bombarded by rhythms as heavy as unbridled, Return embraces the blackness of Redshift, the tamed rhythms of Tangerine Dream and the illuminated cosmos ofJean Michel JarreLike an apocalyptic musical book, "122112" goes down from celestial bodies with a slow linear movement adorned by cosmic dusts which sparkle in an ambiance stuffed with atmospheric tones. Ambient noises, restrained impulsions, crystalline serpentines, scattered pulsations and dark breaths feed this intro which amplifies its Dantesque character to finally sink into the heavy implosions of "astral disaster" and of its angelic choruses immured in the entrails of a condemned landThe ambience is heavy and stigmatized by a scent of suffer made iridescent. The choirs murmur and their voices join to synth lines at once mephistophelic and poetic which float and which tear of their silvered tones the walls of an abyssal corridor in order to hide in the depths of immobilism. This opera of choirs sclerosed in time gets transpose into the limbos of the steel mill from "unholy messiahs" which, such as sunbeams after a torrent of carbonized drizzle, moderates the chthonian ambiances with a passage with the colors of rainbow, before that the anger of the gods thunders with "iniernal machines". "part one" opens the infernalities with deaf pulsations which drop their felted rustles among metallic cymbals and silvery breaths. A powerful sequence starts to activate. Its heavy resonant keys surround some more agile sequences which flutter in a delicious anarchy, shaping an unreal rhythm which is feeding of a sequential mishmash to forms and tones mixed. On an abstruse rhythm, "iniernal machines part one" continues its powerful and static devilish ride with heavy sequences to made Redshift goes pale. Sequences which stagger with the grace of an elephant on acid, up until the doors of its 2nd part, there where the ambiances toil to contain the ceaseless stream of the stormy sequences which cry out their right of destruction. Puny, the rhythm of "iniernal machines part two" shivers and bends under the weight of the thunderous sequences which resound and make trembles both the eardrums than the subterranean corridors and crash into an aggressive echo. The subdued choruses roam on this powerful stationary rhythm which little by little gets out of breath and takes refuge within the breaths of genesis of "a new dawn" and those more orchestral and more liberators of "122212".The 2nd portion of Return is more musical and more melodious, caressing the rhythms and approaches of Tangerine Dream in the clogs of Redshift. The intro of "Return" slides in a beautiful musical panorama where sinuous waves caress the resonant curves of the biting reverberations. The chthonian choruses always have precedence. They breathe in gloomy mists. Blowing in horns, they clear particles and hoops of metal which tear the astral veils to make roar the intersidereal darkness and bring us to the first stammering of the deaf pulsations from "radiocarbon part one". Except that the rhythm carries away very early. Heavy and powerful, it strolls with hesitation before biting the spine of zombie’s choirs and skipping with strength and resonance in a structure of lead where the wandering choirs are caressing it curvatures. The rhythm is heavy, powerful and fluid. It’s flown over by synth solos as much strident as lyrical which become infatuated with an infernal passion to a rhythm of steel. A rhythm which evolves in fine permutations to be ennobling in the sweetnesses and the ethereal solos of "beacon" before spurt even more in "radiocarbon part two" which revives all the power of its first part. "lighthouse" concludes this apocalyptic journey into the blows of angelic and iridescent trumpets, looping the loop of Return with the Dantesque breaths of "astral to disaster".Return is a powerful journey in the analog lands of an EM which fed the fantasies of the first fans of a music which transcends the borders of imagination. Stephen Parsick succeeds an incredible tour de force by sculpturing a music to thousand torments from completely analog equipment where the somber psychedelicosmic ambiances bind themselves in rhythms as heavy as powerful. Following to evolutive musical patterns where the passion whips up furious sequences sculptor of thunderous rhythms, Return is a real musical puzzle where every sound and every note fit into 2 wonderful electronic acts displaying all the genius and the know-how of the caustic man in black of EM.Sylvain Lupari
(2012)Cet article est disponible en Français sur le site de
Guts of Darkness, dont je suis chroniqueur sous le nom de Phaedream:http://www.gutsofdarkness.com/god/objet.php?objet=14832

*If you want to know more about the dark musical world of ['ramp], here's a link to Stephen Parsick's website: http://www.parsick.com/

A floating shadow escapes from a somber wave made of sinuous arcs to roam in a cosmos filled by crystalline tones. Breaths and lunar waves sweep the black horizon, caressing at the passage white noises which sparkle under the glances dumbfounded by the breaths of morphic synths. Such as glances from cosmic sea lighthouse, the spatial waves crisscross and make love in a soft whirlwind of the moon, filling the oblong spatial intro of "Dr Blofeld Und Die Waldorf Schüler" of a bewitching psychedelicosmic character. And a little before the 4th minute, we can hear the cracklings to shiver. They flee the threat of an echoing sequential approach and the percussions which fall with a nervous fright, guiding "Dr Blofeld Und Die Waldorf Schüler" towards the rhythms so characteristics of Pyramid Peak. Sequences subdivide their strikings and their tonal approaches, moulding a superb rhythmic approach where spasmodic and chipped momentums fall in a striking rhythmic pattern with percussions which leave no chance and choirs which are wrapping the fury of it unite their intensities to shape the captivating musical universe of Pyramid Peak. According to the guide of rhythms and melodies from the musical textbook of Pyramid Peak, "Dr Blofeld Und Die Waldorf Schüler" continues his ascension with melodious synth lines which sing and float over the curt and hammered rhythms, to run finally aground in the gaps of a finale without land.If you still don’t know Pyramid Peak, or Axel Stupplich, "Dr Blofeld Und Die Waldorf Schüler" is the perfect comparable of what we would find on the first 7 opuses of the German group which makes since Atmosphere in 1998 a delicious EM allying ambiances, rhythms and melodies. And 5Vor12, an acronym depicting the habit of the trio to end any project on borderline (midnight minus five), is a good continuity in the career of the Peak. "Tears of Joy" proposes another floating intro where Max ''Maxxess'' Schiefele’s guitar sculptures abstracted territories with floating solos à la David Gilmour which cry and sing among vaporous waltzing and morphic synth layers. Out of tears and breaths the guitar calms down a bit before the 7th minute sot, leading "Tears of Joy" towards a rhythmic of steel where the strikings alternate with an icy surgical precision. Synth solos whistle and coo above this chaotic rhythm among which the percussions strikes and sequences shape a powerful break sequencing tempo. Recorded at the Bochum Planetarium concert in 2010, "Lichtermeer" begins with synth waves which enlace and rush into a musical nothingness with intensity. Some delicious nasal tones of the Middle East fragrances pierce this sound veil while that weak sequences try a shy rhythmic breakthrough. Crossed by iridescent sound arcs and rocked by dumb voices and angelic mists, the intro of "Lichtermeer" wakes up little by little to the timid palpitations which drive towards the deaf and echoing strikings of a lascivious rhythm. Tinted with felt, the percussions fall with the correctness of the hypnotic movements while sequences draw stroboscopic circles which turn with hesitation in an intense veil of mist and synth wave. Between its oniric rhythms and its ethereal ambiances, "Lichtermeer" evolves by phase; passing from floating to lascivious to fall in the heavy atmospheres of a cosmos fill by eclectic tones to end its crusade of sounds and ambiances in the rhythms and the melodies of the Peak style. "Random Event Reloaded" is a refreshed version of the Random Event title track released in 2000. The intro is encircled by synth solos which are entwining idly in a superb iridescent mist. The roarings come from far and they ooze of a cosmic passion which extends until the powerful alternating keys of a heavy sequencer. Then the keys get subdivided, crisscrossed and stamped on themselves, spreading out a rhythmic maze which increases with the arrival of another sequential line which pounds a rhythm of lead. And the last 5 minutes of "Random Event Reloaded" are a pure stylistic composition on the art of sequencing and electronic rhythm. It’s heavy, powerful, very catchy and it tears up the paint of the walls. Another title recorded during the Bochum Planetarium concert, "5vor12" is a nice electronic ballad which reminds me a lot the area of theDream on White Eagle with a beautiful melodious sequencing pattern which sculptures a supple and fluid rhythm. Maxxess' guitar throws some good solos which bind themselves marvellously with those, more spectral, of synths.God that feels good to listen to new Pyramid Peak I like the music of the Leverkusen trio, a town near Cologne, who does a good dosage of ambiances, as cosmic as abstract, and rhythms, as balanced as unbridled, with melodious approaches which always hang on to the pleasure of ears. 5VOR12 is a good album which contains all the ingredients to satisfy the fans of the Peak as well as to please those who like the electronic and Teutonic period of the Dream. When to those who like the heavy and black sequences of Ramp or Redshift, you will find your account with an approach however more accessible there.Sylvain Lupari
(2012)Cet article est disponible en Français sur le site de
Guts of Darkness, dont je suis chroniqueur sous le nom de Phaedream:http://www.gutsofdarkness.com/god/objet.php?objet=14829

samedi 14 janvier 2012

"Retrochet III seems to be a new step in the progression of Michael Neil and Graham Getty"1 A Trip across the Marshes at Midnight (12:18)2 Monolilith (10:09)3 Flow (8:29)4 Sky Racer (12:16)5 Alienice (4:12)6 Table Mountain (10:40)

There is a music, its story and its influences which we never get tired to listen to. The one from Tangerine Dream's Ricochet, Encore and Stratosfear was the spearhead of a musical movement then in full boiling with the addition of hard and powerful rhythms which shook the morphic and psychedelic envelopes of cosmic synth layers. A little as in an unfinished dream, the duet Michael Neil and Graham Getty forces time and its whims by pursuing the exploration of a fascinating musical territory that has no borders. Retrochet III is not only a suite of the superb musical series begun in 2010, but it’s also the proof that illusion has limits only what we do not want to see, nor to hear.It‘s in a nice fusion of the hypnotic rhythms of Retrochet I and the more psychedelic ambiances of Vol. II that "A Trip across the Marshes at Midnight" kiss the musical fragrances of Stratosfear. Fine fluid sequences skip with delicacy in an intro stuffed with cracklings and metallic gases. Switching shapes into drummed strikings, these sequences shake the layers of a suave ethereal flute while the rhythm of "A Trip across the Marshes at Midnight" trades its lightness to embrace a heavier phase trapped in the slowness of waltzing envelopes where morphic mist and spectral flute awaken the reminiscences of a forgotten world. Navigating on fluid and progressive rhythms which crisscross under a sky multicoloured of strata as poetic as atmospheric, this first title of Retrochet III lays the foundations for an album where the astral melodies stick to structures which travel easily through ages. "Monolilith" runs away with a more incisive rhythmic approach. Michael Neil and Graham Getty search the missing links of Encore with heavy but fluid sequences which run at full speed in beautiful floating envelopes. Rolling between its reverberating lines and its chloroformic arcs, "Monolilith" follows a progressive rhythmic tangent with a fine variation in the power of its sequences which obey to the variable strength of a synth from which heavy hootings, ghostly streaks and iridescent mists set an explosive eclectic cocktail ablaze. After this explosive title, "Flow" flows into our ears with a wonderful poetic approach where sequences and pulsations crackle such as anaemic popcorns with the force of their restraints under the layers and mists of an oniric synth. It’s a floating and meditative title coming out of limbs and which is a superb mixture of Klaus Schulze (Blackdance and Picture Music) and Michael Stearns (Chronos).Espousing this blend of ardour and restraint of "A Trip across the Marshes at Midnight", "Sky Racer" begins with an oscillating chaotic waltz before entering a sequential phase to wide ascending undulations. This repressed rhythm is wrapped in morphic spheres with a synth asleep by ethereal mist which frees iridescent lines, throwing a poetic paradox on a title which looks for the slightest desertic plots of land to set its rhythmic approach in fire. "Alienice" dips us into atmospheric and psychedelic ambiances with layers and waves of synth to tones as confuse as puzzling. It’s a short experimental title which precedes the jewel of Retrochet III; "Table Mountain". Superb sequences with bass and felted tones skip with grace in the opening of "Table Mountain". Like a magical ballet they form a stealthily dance which is crisscrossed by sequence line filled by more direct oscillations. This chassé-croisé sequenced is a tasty musical find which amazes and enthrals, but we ain’t heard all of it yet. A synth throws a melancholic veil of mist and a superb melodious approach, adding an indefinable beauty to this poetic approach which will delight the fans of Tomita and Philip Glass. It’s of a stunning beauty! And so "Table Mountain" continues its dance of winds with this wonderful mixture of innocent sequences lends to sacrifice themselves in the morphic layers of a poetic synth for the biggest pleasure of our ears. This is incredibly beautiful and I have the same shivers which caress my spinal column after the 12th listening.Retrochet III seems to be a new step in the progression of Michael Neil and Graham Getty. Even if the duet soaks up by the delicious atmospheres of the Ricochet years, he explores more personal ways by offering compositions and structures which stray from reminiscences of this period from which the uncountable musical veins ask only to be exploited. And it is the strength of Retrochet III. More than a sequel which risks to be short of breath, Michael Neil and Graham Getty display their arsenals of melodic poetry to instil some great progressive electronic odes which have nothing to envy to their sources of genesis.Sylvain Lupari
(2012)Cet article est disponible en Français sur le site de
Guts of Darkness, dont je suis chroniqueur sous le nom de Phaedream:http://www.gutsofdarkness.com/god/objet.php?objet=14827*Available on MusicZeit

The French label Ultimae is an equivalence of the English label DiN. As IanB oddy's label, Ultimae possesses a nice bunch of artists who shape a stunning EM of which the soft and lascivious rhythms are next to ambiances as cosmic as psychedelic. Ambrosia is a compilation mixed by Greek DJ Fishimself. Haris Papadimitriou loves a music without borders, neither rhythmic and nor ambient, where the down-tempos to numerous evolutionary phases reign in absolved masters in the psychotronic spheres of an ambient parallel universe. Ambrosia pours into our ears with the amazement of its versatility where 10 titles link together as in a long journey in the countries of ambivalent rhythms. So, welcome in the kingdom of the cerebral rhythmic sensuality. Welcome to the eclectic down-tempos of Ambrosia. This superb meshing of styles begins with "Sub Strata" from Max Million and Gusk. The rhythm is soft and finely drawn by at once heavy and light percussions. Like in a sort of cosmic and astral down-tempo, the rhythm floats in an oniric structure where crystalline arpeggios, suave ethereal voice filets, morphic guitar notes and synth layers wrapped up in a static mist get enlacing on a rhythm with subtle permutations. Miktek's "Light Tails" adopts the same cosmic-astral approach with a floating and hopping tempo. The choirs are beautiful. They roam on a misty structure which is slightly stamped by good percussions. "Distant Industries" from One Arc Degree follows the dreamy ashes of "Light Tails" with a cosmic and psychedelic down-tempo which spreads its slow rhythm over heavy metallic percussions. The synth draws a melodious approach which floats at big knocks of undulatory arcs, bringing in its melodious trail an uncertain rhythm which appears closer to stars than dance floors and which tergiversates among the breaths of astral mermaids and whispers which awaken a soft paranoia. Aes Dana's "Principles of Gravity" offers a rhythmic approach divided between its pulsating and ambient passages. The rhythm is forged by percussions to varied forms and tones, offering echoing strikings and other ones to cosmic gases effects which are grafting to sequences pulsing in various paces and swirling in hypnotic stroboscopic carousels while the ambient passages are fed by subdued choirs and cosmic layers. A melodious oscillatory piano line opens "Sygnals" from Homo Imperceptibilis, by far my very favourite on Ambrosia. This delicate melodious approach falls in a heavy up-tempo kind rhythm which swirls with lasciviousness around a pleiad of keys weakened by a glass tone. Nice layers from a morphic synth caress this soft cosmic down-tempo which yakety-yak beneath the weight of a good stroboscopic approach. The 2nd part is delicious. The rhythm turns in slow motion, embraced by a soft synth to violin strings envelopes which float and sing under the hits of hypnotic percussions. Percussions which are divided into halves and multiply their strikings in a great symbiosis anarchy.After an ambient intro where a rain of heterogeneous tones pours in the nothingness, "Sun Ritual" from Sesen wakes up slowly with a rhythmic approach trapped in its cosmic elements and movements. Alpha Tek's "Hyades" pursues the exploitation of dark and glaucous ambiances introduced by Sesen before hatching on a heavy down-tempo to melodic envelope slightly jerky. The percussions fall with the subjection of a tick-tock caught in a muddy rhythm which shivers under the shakings of fine hoops and good sound effects so much echoing than reverberating. A little as "Sun Ritual", "V.A.N.T.A". from Asura marinates in an ambient intro before copulating with a good progressive rhythm which hooks the ear instantly. It’s long title which caresses so varied styles such as dark ambient, psychotronic ambient and cosmic down-tempo to progress with an intense cinematographic approach. It’s kind of like a psychedelic ride fed by hatched pads and chords and coated by a beautiful melodious envelope with an aura as angelic as foggy. A cooing and wave-like synth line shifts shape into a beautiful and crystal clear sequenced approach to sing the sweetnesses of Memphidos' "Why" which swirls in a universe chewed by misread percussions. Between psycho drama and psychedelicosmic, "Why" overlaps ethereal ambiance and crushed rhythm on a bipolar structure where static and white tones are next to a beautiful melody which has difficulty in making inhale its crystalline sequences. "Ominous Ride" from Miktek concludes this journey of broken rhythms by a beautiful piece of music where the down-tempo breathes by fine sequences and nice piano notes radiating in a very cosmic atmosphere.Ambrosia is the perfect door to discover the musical world and the ambivalent rhythms of the Ultimae label. If I savoured at big knocks of ears the sublime Interloper from Carbon Based Lifeforms, the pleasure was just as much with this delicious compilation which transcends the borders of an EM to fragrances of Berlin School to radiate of a sound universe so hard-hitting. With a master’s hand, Fishimself erects a strong opus on which the homogeneity moves us away from the typical compilations with a skilful dosage of lascivious and languishing rhythms in atmospheres so much ethereal than cosmic, giving birth to a compact album which has no weakness and no dead moments.

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Qui suis-je

Bonjour!
My name is Sylvain Lupari from Joliette in Quebec (Canada). I’m known as Phaedream all over the Internet since the beginning of 2000 where I started to write reviews. In 2005, I joined the French Webzine Guts of Darkness and on August 2010 I created a Blog, Synth & Sequences, which has reached the point of 1 000,000 visitors on February 2017 where I also wrote my 1354th review. In French and in English, I wrote more than reviews of EM albums.
This Blog is a huge success and reference about the music which sets my mind free over the years. Too many chronicles, so I have to split this Blog in several sections. Robert Schroeder is the first to welcome my thoughts on Webpress.
So, welcome to this part of my Blog Synth&Sequences which is devoted to the music, the tones and sounds of Aachen’s own Robert Schroeder.
Here you will find informations about his career and discography and latest news as well as deep reviews about his music, his albums.
My only wish is to guide you through his impressive career and may I suggest to visit regularly my Blog Synth & Sequences for more updates on EM.